Corden clarified that the console’s chip is designed to support native games from Xbox 360, Xbox One, and Xbox Series X/S, specifically titles already part of Microsoft’s backward compatibility program. This allows players to simply use their old discs or digital libraries and enjoy them seamlessly on the new hardware.

Microsoft also promises that the next Xbox will deliver a traditional console experience, staying true to the “plug-and-play” principle fans value. Despite social media rumors about a shift toward PC features, Corden confirmed the console won’t integrate Steam. Instead, the focus remains on building a powerful, standalone gaming device that “pushes technical boundaries.”

Beyond the console, Microsoft is exploring ways to expand the Xbox ecosystem. At the recent Xbox Games Showcase during Summer Game Fest, they introduced third-party handheld devices: the Xbox ROG Ally X and ROG Ally, developed in partnership with ASUS. These devices, closer to PC gaming, offer portable ways to play Xbox titles. However, the next-gen console remains central to their “This is an Xbox” strategy.

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We delved deeper into the game’s world, exploring its sources of inspiration, from Croatian mythology to literary works. We discussed the key role of the Croatian Audiovisual Centre (HAVC) in its development, learned what to expect from the game itself, heard about their experiences at Croatian gaming events, and found out which platforms will host this unique creation.

You can find Dark Queen of Samobor on Steam. The Vincetić brothers are also very active on Discord, with the game’s release date set for 2026, while a playtest is expected early next year.

Can you introduce us to the studio’s name, who makes up the team, and how the idea for Black Queen came about?

We chose the name Downtown Game Studio to promote Osijek, specifically Donji Grad, where we’re from. It doesn’t quite make sense since "downtown" usually means a city’s business center, and we live in the suburbs, but it’s Donji Grad, so Downtown it is.

We founded the studio in 2019, and Crna kraljica (Black Queen) isn’t our first game, at least not for consoles and PC. Before that, we spent three years developing hypercasual mobile games. I started the studio with my brother and another programmer, who later left us. That’s when our current programmer, Aleksandar Baranji, joined. Interestingly, while we were working on mobile games, Aleksandar was independently developing his own projects. We met, teamed up, and together released around 30 mobile games.

We always wanted to create a more serious game and hoped to hit it big with at least one mobile title to fund that dream. Though we didn’t achieve that financial breakthrough, collaborating with major mobile game publishers over those years gave us invaluable experience and knowledge.

The idea for Crna kraljica dates back to 2021, when we first submitted it to a HAVC public call. We weren’t accepted then, so we shelved the project and continued with mobile games. The turning point came in 2023 when we resubmitted it to a HAVC call, which was accepted this time, granting us initial funds for pre-production. This encouraged us to fully commit—we ended contracts with mobile publishers and focused entirely on Crna kraljica.

Besides our core trio, we have an incredibly talented concept artist from Zagreb, Fran Domljan, still a student currently interning with us. We hope this grows into a long-term partnership after his internship ends.

How Did You Come Up with the Story?

Inspired by the dark atmosphere of the last-gen console game Inside, we decided to create a similar side-scrolling experience. The opportunity arose with a HAVC contest, prompting us to develop a Croatian fantasy story. Growing up with dark fantasy films like Conan and Disney’s Sleeping Beauty, crafting a story in that vein felt natural. Our initial idea was to focus on characters from Ivana Brlić Mažuranić’s works and build a fantasy world around them. However, after consulting with Daniel Rafaelić, a renowned Croatian film scholar and historian, we were advised to explore less familiar themes. This led us to Šenoa’s “Zmijska kraljica” (The Serpent Queen), a poem about Barbara Celjska, the ruler of Medvedgrad known as the Black Queen.

When Daniel recommended Šenoa’s poem about the Serpent Queen, everything clicked. We realized we could build our own story on those foundations. Šenoa’s epic tells of a crusader who, returning from a campaign, encounters the Black Queen, the ruler of his homeland. A tragic love story unfolds between him, the queen, and his new love, a young girl. Our story diverges significantly from Šenoa’s, but it retains key elements: the queen, the crusader, and the young girl.

Šenoa’s tale served as a springboard for our own vision. However, we didn’t want to limit ourselves to Šenoa alone. Characters, locations, and events are rooted in Croatian mythology and culture, though we don’t strictly adhere to geographical truths. For example, the mountainous part of the game might resemble Velebit, but the characters there draw inspiration from other sources. Our goal is to create a dark fantasy world grounded in Croatian roots, blending elements from various literary works, including some characters from Ivana Brlić Mažuranić’s stories—we haven’t fully abandoned her influence.

Recently, you introduced the character and enemy Grabar, where do you draw inspiration for its look, and how do you come up with ideas for character designs?

We discovered Grabar while researching modern literature on Croatian folk tales and mythologies. Though such literature is scarce here, we strive to find and study available sources. For example, Vida Balog’s Hrvatska bajoslovlja explores ancient beliefs before the arrival of Christianity. In certain parts of Croatia, these beliefs still linger, with older generations passing down stories of ancient beings, as some regions only later fell under Christian influence.

It was through these local testimonies that we learned about Grabara and their nature. Our vision of Grabara is closer to what locals call Vodenjaci. So, we didn’t strictly adhere to historical accuracy but drew inspiration instead. Our Grabara align more with the description of Vodenjaci from those tales, though we also include Vodenjaci in the game, also inspired by these stories.

We work hard to gather as many references from Croatian culture as possible. Daniel has been a great help, providing insights about the Black Queen and the historical context of her life. While we don’t strictly follow historical facts, we aim to weave as many elements from real Croatian medieval history into the game.

How Did the Collaboration with Sandra Lončarić, the Voice of the Black Queen, Begin?

Finding a voice for our Black Queen for the trailer turned out to be surprisingly easy, thanks to Daniel. We had a script ready for the trailer and knew we needed a voice, but we weren’t sure about the scope of collaboration for the whole game, nor how much it would cost or how much text would be involved.

Daniel asked who was providing the voice, and we admitted we didn’t know yet. He then suggested Sandra Lončarić, which seemed unreal to us at the time. The very next day, I spoke with Sandra over the phone and arranged a meeting. She loved the idea. We proposed she not only voice the trailer but also lend her voice to the Black Queen throughout the game, and she agreed.

I think Sandra recognized the potential in our game, and local patriotism likely helped since both she and we are from Osijek. She was immediately thrilled about the project, and we’re honored to work with her. The Black Queen is the main anti-hero in the game, driving the plot and serving as the primary antagonist. The player’s goal is to reach her and confront her, making her an incredibly important character.

What Can We Expect in the Game?

We’ve put special focus on “cinematic” moments, unforgettable scenes, and an engaging story. It’s a linear experience lasting 3-4 hours, meaning you can finish it in one slightly longer play session.

The game is divided into several chapters, each offering a unique atmosphere and a boss fight at the end. Each boss is inspired by characters from Croatian literature or legends. Defeating a boss unlocks a new ability that mirrors the defeated foe’s power. For example, there’s the Plague Witch, inspired by Šenoa’s “Kuginja kuća.” After beating her, she controls time, the player gains the ability to slow down time.

This is one of the first special abilities you’ll unlock, and you’ll need to use it in later chapters to solve puzzles and progress. We place a big emphasis on camera direction. Perspective shifts won’t be random; you can’t freely change the view. Instead, the camera is carefully directed from start to finish, with changes used to highlight elements in the environment or create dramatic effects.

One of our key mechanics is axe-throwing, clearly inspired by God of War. The axe is used in both combat and puzzles. Alongside it, players will gain other special abilities, whose exact designs we’re still developing. Each will be unique and useful when combined with combat and puzzles. You’ll be able to choose which abilities to use in fights. There won’t be heavy RPG elements like skill trees or extensive character development, as the focus is on the linear story. Think of our game as Inside, but instead of a boy, you play as a knight armed with an axe and magic.

You mentioned Neva as an inspiration, will there be seasonal changes?

Our game will use a similar principle of environmental shifts, but instead of seasonal changes, we’ll focus on the time of day. The idea is for the player to journey through an entire day, starting in the morning and ending in the deepest night. This will bring significant environmental changes, as you’ll pass through different biomes, like mountainous and forested areas. In swampy regions, for example, Grabar, monsters lurking beneath the water’s surface, will wait for the right moment to ambush an unwary player.

What other enemies can we expect to encounter during gameplay?

Besides Grabara, we can mention the Red Crows (Order of the Crow), as we’ve named them, ninja-like warriors shown in the trailer. They are one of the Black Queen’s units, tasked with patrolling and guarding a section of the forest the player traverses. Known for using various traps and devices, they avoid direct confrontation, aiming to slow the enemy with obstacles. Of course, they’re also highly skilled in combat. All enemies will have different variants. For instance, within the Red Crows, we have light, heavy, melee, and ranged versions. Additionally, each new biome will introduce new enemy types. While the Red Crows inhabit the forest, the mountainous areas will feature entirely new creatures and beings.

To What Extent Has HAVC Supported This Project?

I often emphasize that without the Croatian Audiovisual Centre (HAVC), our game wouldn’t exist. While the financial support we received from HAVC was crucial for pre-production, its true value lies in something much deeper. Game development is an incredibly expensive process, so the recognition and backing from an institution with such experience and expertise were key. It gave us the real push to start this project. Of course, without the financial help, we couldn’t have begun, but the collaboration with HAVC offers so much more, including promotion and support. We’re truly grateful for everything they do for us.

I’d absolutely recommend that anyone with a development idea give it a try and not let bureaucracy or paperwork scare them off. The application process is actually simpler than it seems. I can confirm that Benjamin Noah Marićak from HAVC is incredibly approachable and ready to assist with everything needed during the application. This kind of support is incredibly valuable for the entire gaming community. The more quality projects we submit to HAVC, the more funding will flow back into the industry.

So, submitting an idea can’t hurt, and you might gain financial support, media exposure, mentorship, and key assistance for developing your own game. Therefore, I strongly encourage everyone to apply.

Are You Considering Launching a Kickstarter Campaign and Looking for a Publisher?

We’re currently preparing for a Kickstarter campaign set to start in early September, mainly to secure funding for further game development. At the same time, we’re actively seeking publishers and are in talks with several. If we secure funding through a publisher, the Kickstarter might not be necessary, but we’re not counting on that.

As a studio, you’ve attended the biggest gaming events in Croatia, what have been some of your experiences?

Participating in festivals like InfoGamer in Zagreb, the region’s largest indie game event, and Reboot Develop Blue in Dubrovnik, one of the world’s biggest gatherings, has proven invaluable for getting feedback on our game. At every conference and festival we attended, we brought a game prototype on a laptop, letting visitors try it out and share their impressions. Getting feedback this early in development is crucial.

For example, we’d arrive in Zagreb with one version, gather feedback, implement it, and then bring an improved version for another round of testing. Through this process, we found numerous bugs and received great suggestions that we added to the game. This is the primary benefit of such events, alongside the added exposure and visibility.

We were also featured on the Best Indie Game channel back in January. We weren’t sure how they found us, but they ranked us 25th on their top 25 list of new side-scrolling games. It was perfect since we were at the start of the video, and on the same day it was released, we gained 500-600 new wishlists from that single video. Recently, we applied again to his showcase, where he personally selects games he likes, and we made the cut. I can confirm firsthand that showcasing on bigger channels is worth it, as it definitely boosts visibility.

Where Will Dark Queen Be Playable? Can We Expect a Demo Version on Steam?

We’re primarily developing the game for PC, but our goal is to release it on all consoles—PlayStation, Xbox, and Switch. Whether we succeed will depend on our financial situation and potential partnerships with publishers who can support us. We think our game would fit perfectly on Switch 2, especially now that it’s out.

We plan to release a demo on Steam next year, closer to the game’s launch. We want to maintain good momentum between the demo and the full release, so it will likely be available during Steam Next Fest, about a year from now.

However, players will get to try the game earlier. This year, we’re planning a closed alpha test with part of the community, followed by a more open beta in the second or third month of next year. Only then, next summer, will the official demo hit Steam.

The post Josip Vincetić revealed what to expect in Dark Queen of Samobor, an adventure inspired by Croatian mythology first appeared on IndieGames.

You play as Samuel, a playtester for a video game company, tasked with testing experimental game worlds created by a revolutionary synthetic intelligence known as A.I.L.A. What starts as a routine job quickly turns into terror as the boundaries between virtual reality and the real world begin to blur. Each scenario introduces Samuel to a different horror subgenre: from evading a ritualistic cult in a creepy forest to investigating a missing person on an abandoned farm.

Powered by Unreal Engine 5, A.I.L.A. delivers a photorealistic experience, with advanced technologies like Lumen and MetaHuman creating vivid worlds and immersing you in distorted realities. The game’s design leans into psychological horror, supernatural scares, and action-packed frights, featuring customized gameplay mechanics for each scenario.

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Imagine this: you’re a Pathfinder in a world full of magical creatures called Aniimon. Sound familiar? It’s got that Pokémon vibe, where you catch, train, and battle them. But here’s the twist: think Palworld’s survival edge meets Pokémon’s creature-collecting heart. You’re not just battling them; you’re also managing resources, building bases and exploring.

The trailer we saw showed off a bunch of Aniimon, the grass one that looks like Lapras or the one flower-type that reminds me of Forges, each with their own unique look and feel. The art style? It’s a perfect blend of cute and tough, kind of like if Pokémon grew up a bit but kept its charm. It’s free-to-play, coming to mobile too, and features a battle pass with multiple in-game currencies shown in the video. This could definitely lean towards a gacha game model.

You can also sign up for the closed beta test on PC later this summer. Beyond just catching creatures, exploration is key in Aniimo’s huge, open world with many connected islands and biomes. There’s no linear path, so you can dive into battles whenever you want. The trailer even showed that you can transform into creatures to move faster across the land.

Additionally, you can use your own weapons to fight Animon. It’s not clear if you’ll fight other humans. Since it’s likely a gacha game, we can expect many multiplayer options, like PvPvE battles. You can also evolve and merge Animon to make them stronger and the official website does show combat, abilities, and habitats for some creatures, giving us a peek at what’s coming.

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Set on a mysterious island in a long-lost sea, Keeper follows the journey of a lighthouse, an unusual protagonist, who awakens from a deep sleep beneath a distant mountain peak. Accompanied by a seabird, the lighthouse embarks on an adventure of friendship and discovery. What sets Keeper apart is its complete reliance on visuals to tell its story, with no dialogue or text, challenging you to explore the island’s landscapes and decipher clues from the environment.

Keeper will be available on October 17, 2025, for Xbox Series X/S and PC via Steam, and will launch day one on Game Pass.

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In Infinitesimals, you play as the leader of an elite alien ship, stranded on a mysterious planet. Reduced to bug size, you navigate a massive landscape where ordinary plants like mushrooms become significant barriers. Unlike Obsidian’s Grounded, which focuses on surviving against bugs, Infinitesimals introduces a broader range of dangers.

Beyond the local wildlife, you’ll face Hunter Gatherers, enemies dominating the planet. As you search for missing team members and uncover the fate of a lost colony, the game weaves a tale of survival and exploration. Cubit Studios, debuting with this project, draws clear inspiration from sci-fi classics. Additionally, the advanced robotics of an alien civilization add a layer of intrigue; some machines will attack, while others hint at deeper mysteries.

The post Sci-Fi Action from a Bug’s Perspective Infinitesimals Releases in 2026 for PC and Consoles first appeared on IndieGames.

The reveal trailer, showcased during Summer Game Fest, offered a glimpse into the game’s world, though much of the story remains a mystery. You play as Towa, a young priestess leading a group of eight unique guardians in a battle against Magatsu, an evil force threatening the peaceful village of Shinju. The game features a top-down perspective with dynamic action combat, and what sets Towa apart is its cooperative twist: you can control two guardians simultaneously, each with distinct abilities and weapons.

The game’s aesthetic is stunning, rooted in classical Japanese art with hand-drawn characters and beautiful backgrounds reminiscent of traditional ink paintings. The world combines serene beauty with lurking danger, complemented by a soundtrack from composer Hitoshi Sakimoto (Final Fantasy XII, Final Fantasy Tactics).

Among the colorful cast of guardians are a giant Shiba Inu and a talking koi fish. As you explore dangerous lands and dungeons, you’ll build connections with the village inhabitants, uncovering their stories and customs across different timelines, which further develops the village and deepens the narrative.

The post Towa and the Guardians of the Sacred Tree is a New Roguelike Inspired by Eastern Mysticism first appeared on IndieGames.

The reveal trailer introduced you to Cel, a young combat technician. Her task is to unravel the mysteries of an underground facility. As Cel navigates this abandoned world, you’ll face monstrous creatures and a haunting environment where nothing is human. Survival demands adaptability, with tense combat and a system for upgrading gear to battle twisted horrors. Much like Little Nightmares, End of Abyss prioritizes exploration, but it sets itself apart with branching pathways and hidden areas that deepen the game’s eerie allure.

End of Abyss stood out during the showcase, grabbing attention with its unique top-down FPS view. This style has drawn comparisons to Playdead’s Inside. It is set to release in 2026 on PC via the Epic Games Store, PlayStation 5, and Xbox Series X/S.

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Wildgate drops you into a colorful yet dangerous corner of space, blending tactical ship-to-ship combat with fast-paced first-person shooting. You’ll gather a crew to explore treacherous environments, scavenge for powerful weapons and ship upgrades, and battle rival teams to secure a coveted Artifact or simply be the last crew standing. The game’s PvPvE structure pits you against both environmental hazards and other teams, creating a mix of strategy and reflexes.

Before the event, hints of its reveal surfaced, including a post from the official Wildgate X account teasing its showcase appearance. Developed by a team led by former Blizzard boss Mike Morhaime, Wildgate leverages Moonshot Games’ expertise to deliver a polished, team-based experience. The trailer highlighted ship battles and on-foot combat, with visuals set against a perilous galaxy backdrop.

The post Wildgate confirmed its release date and announced a beta version for next week at Summer Game Fest 2025 first appeared on IndieGames.

A demo was recently released, letting everyone dive into its world. This action-adventure with RPG and soulslike elements has you exploring the war-torn, semi-open world of Hadea. You play as Rémi, a UN peacekeeper, seeking answers about his past amid a civil war and a mysterious calamity that spawned supernatural creatures called Hollow Walkers.

You have great freedom in exploring the world

Right from the start, Hell is Us captivates with its stunning visuals, dark atmosphere, well-crafted characters, cinematic cutscenes, and a dynamic, minimalist UI that appears during combat. However, like many games built in Unreal Engine 5, it faces optimization issues. Slowdowns with multiple characters on screen and odd lighting moments are present. If you don’t have a powerful PC, expect some performance hiccups.

The developers promise that Hell is Us has no maps, indicators, or linear guidelines, giving you the freedom to choose your path and interactions. The demo effectively showcases this. Exploration is crucial, as you must gather resources for healing, stamina, drone use, or materials dropped by defeated enemies. The game is filled with secrets, hidden consumables, and puzzles that unlock secret rooms and more. While you follow the main story, the game only provides hints about what to do, not how to do it.

Conversations with characters are vital, revealing world details and mission clues. For example, early on, you’ll talk to a grandfather who shares how to find a military vehicle for map travel. Listening carefully is key, as characters’ words guide tasks like following a bell’s sound to avoid getting lost. This is just a taste of the demo, and we believe the full game will offer even more to explore.

Combat is deliberate and demands precision

When it comes to combat, it’s thoughtful but doesn’t bring anything spectacularly new. It requires precise strikes and revolves around stamina, which limits your actions through an exhaustion mechanic. In this state, you lose health and deal weaker attacks. Light and heavy attacks, blocking, dodging, perfect blocks, and a soulslike constant healing mechanic are available. It feels fairly fluid for the player, but not for enemies. There are many types of foes: smaller enemies you can quickly defeat, larger monsters, and unique enemies that are interconnected and attack from multiple directions. You must defeat one to make another vulnerable, as they’re otherwise invincible.

The issue is that enemy AI is quite weak. They’ll stare at you until you approach, get stuck on obstacles, or simply not move, only reacting when you’re close. Fortunately, the demo lets you adjust enemy difficulty, choosing between more aggressive or resilient foes, giving you options.

Additionally, the hitbox can feel odd, enemies may attack without hitting you despite being right in front of you. Rémi’s primary weapon is a glowing sword, with secondary weapons like axes available. The drone serves as a tactical tool, activated to distract enemies or interact with the environment, such as lighting your path or reading unfamiliar languages.

An ambitious project with the potential to become something great

Weapons in the game have levels and can be upgraded with various modifiers. Your inventory can fill up with items you might need later, and they’re easy to find. The only issue is that when inspecting an item in detail, you can’t equip it directly, you have to navigate through multiple menus. For the best impression of the game, we recommend trying the demo yourself. It lasts about an hour and a half if you explore every corner.

Personally, the combat in Hell is Us wasn’t overly demanding; it might even be too forgiving, as you can block almost everything and have multiple ways to defeat several enemies at once. On the other hand, Hell is Us is a truly ambitious action-adventure game that stands out for its exploration without much hand-holding. Puzzles and secret rooms aren’t hard to find—you just need to look around a bit more carefully. The graphics are undeniably top-notch, but if optimization isn’t improved, there will be issues. It’s hard to predict how well everything will work in the full game, and we’re yet to see how long a playthrough will take.

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